Since I started these experiments with layers of translucent material, I’ve been considering how that might translate back into monotype. I had this idea to continue working with the ghost prints, in a format that is very similar to how I’m planning on making these multi-layered crayon drawings.
I did a small test to see if this technique might be a viable solution. I started the monotype with the most distant, smallest figures and then immediately printed the plate. I returned to the same plate and added another scale of slightly larger figures to the plate, eventually moving myself towards the darkest, largest figures in the foreground. Each time I printed that same plate, the figures in the distance became progressively lighter and vaguer, creating space and depth. I completed 5 plates total, but it became evident at the 4th print that the figures in the distances were far too light to have any presence.
I liked this technique because unlike the monotypes I was going in January, I have a lot more control over the grey tones in the images. At the same time, I’m still allowing for the process of the ghost printing to be my main vehicle for creating grey tones. I might try this technique with oil-based ink to see if I can get the same range of greys in the ghost prints.
1st print:
2nd print:
3rd print:
4th print:
Clara Lieu 
This is a great technique for creating atmospheric perspective! I’d never thought of using ghosts in this way – inspiring!
Thanks, have really enjoyed exploring your blog. Blogrolling you – let me know if you’d prefer not.